Provisional Logistics

Post for testing purposes.

Yeah, I have to revision this. Let's do it.

I am confident in disappointing me. Fuck.

It just means "I hate myself". That's enough.

Volluwinea Garllea is a netmeme of unknown origin that enshrines a man who claims to have been significantly involved in the Gallic War in the Gallia of 58-51 BC (now France, Belgium, Switzerland, etc.).
Men look like Mongoloid aged 21-24 years and have dark skin. Men are often referred to as "seniors" in the group of works.
The image, video, audio, or a modified version of this man makes it seem as if the thoughts of Volwina Gallia are drifting online.
Example of Volwina Gallia
A man censors his junior man T at home. The man scorns T from beginning to end and suffers. At the end of the day, T rages and makes a strange voice while committing a man. After 15 minutes, T does not care for the debilitated man.
Volwina Gallia is a term that can be used only among experts, and the popular word for Volwina Gallia is generally not present under the censorship and control of information by an organization composed of experts.
Addendum
The name Volwina Gallia was announced on SNS one day in 1987 by Guymon, who is the "manager" who manages a series of net memes. The origin of the word is "a twist of volcano (volcano), and it is "a coined word that does not have any meaning" sung by a person who has extremely lost the ability to judge as a recreation of sake seats all night," he said on SNS. I have made a clear statement.

Here I'm free from word limit, but unfortunately I can't translate the sentence instantly unlike Twitter.

How many times can I fap with Zeyen Priestess to be satisfied? These days, I am more and more conservative and reluctant to discover new works.

I would like to describe the current situation where the probability of completing an all-nighter that promotes sleep deprivation is increasing. It can be interpreted as a kind of mild self-harm or long term suicide.

I think there should be a careful discussion as to whether or not instinct be encouraged. In other words, prudence and prudence against prudential discussions are essential for prudent discussion, and that prudent attitude is achieved by the prudence inherent in people.

It should not be recommended as it can lead to errors and misunderstandings. So what I mean is when should I sleep. This is one of the highest propositions, and the issue that should be solved with the highest priority. There seems to be some correlation between the quantity and quality of my sleep and my quality of life. Knowing more about these relationships can help me improve my life.

I deeply apologize for these poor sentences being generated by my mental underdevelopment and lack of sleep.

One of the causes that tends to delay sleeping time is the hurdle to brush teeth. It feels very annoying to me, however I am afraid of tooth decay and periodontal disease. This contradiction does not free me from myself.

Extraordinal dry dung due to lack of water...!? Even so, no, no, well, personally, I lay down the far-reaching conception of structuralist Marxism that influences the amygdala reprint. The toilet paper between the testicles and anus is ephemeral.

It was misused because the word actually meant livestock dung. Because I am human and what is human? Yes, philosophy.

I have been found to have a certain level of interest in making such shame-texts open to the public, especially in these immature communities. Because their reaction is quite interesting.

List the monsters with the same skill in descending order of number.

Yian Kut-Ku 1
Lagiacrus 1
Furious Rajang 1
Velkhana 3
Gore Magala 4
Seregios 1
Akantor 1
Yama Tsukami 1
Fatalis 2
Nergigante 4
Paolumu 4
Thunderlord Zinogre 1
Brachydios 2
Barioth 3
Nargacuga 9
Tigrex 5
Rathian 8
Astalos 8
Gammoth 4
Glavenus 2
Mizutsune 3
Rathalos 5
Kirin 4
Valstrax 3
Bloodbath Diablos 4

My precious 840 magic stones have left for GungHo Democratic People's Dictatorship in partnership with Capcom.

Phew! Okay, It was correct.

Of the 33 times, the highest rarity star 7 is 9, star 6 is also 9 and star 5 is 15. Star 7 and 6 monsters have an emission rate of about 27%, and star 5 have it about 45%. According to the official notation, the emission rate of star 7 is 20%, star 6 is 40.7%, star 5 is 40%. Approximately I won.

And "The hit probability is displayed up to two decimal places rounded to the nearest whole number. Therefore, the sum of hit probabilities may not be 100%."

>>38
I'm extremely sorry. This expression was not enough. This is a descending list of each monsters' serial number. Independently of this order, the number next to the monster name means the number of monsters I obtained this time.

I was ashamed to waste my stamina as usual. Fock. Now improve Velkhana's skill level before spending time and energy on such a deception.

There is no obligation to despair for anyone, at anytime, in anywhere.

I'm thinking about pubic hair... especially around anus.

Do Bristles Dream of Permanent Hair Removal?

>>46
It depends on the person.

We have to narrow down the dynasty that wants to know even the approximate diameter of the vaginal wall, but that is not easy. It is often said that you are respectful when you look up and pleasant when you look down.

Preface

Stupidly, again, I created my Twitter account, but soon lost motivation for it. I don't want to use it now. How difficult it is to communicate, which is hard to share, that is, how to improve the puzzle to reach the ideal. I think it's possible because it's in the visible range. I don't really aim to be shared by all users, but I hope it will be useful to as many people as possible. Nonetheless, it will be even more difficult as the individual circumstances are varied. At the origin, I think of it just for myself. By the way, is it a type of deduction? I don't know, but it doesn't matter. Focus on the subject. I said it is deductive, but the method itself may be rather inductive. In other words, it's a way to collect factual parts through tests and experiments. For example, is there a significant difference in the scores in the ranking dungeon before and after practicing the puzzle within 4 seconds? It seems to be effective in this ranking dungeon.

And I believe this attempt is far more rewarding than going crazy for luck or something like that, or spending energy on a little silly people in the distance. Not only that, I even believe it has the power to make a few other people happy. If you allow me to talk a little earlier, I would like to talk about Nasutaro. He is a respected video contributor and one of the most creative and humorous people I know. His video style has given me some important inspiration. He is sometimes referred to as the "master" and has provided skills to niche requirements, especially involving special puzzles, crosses and L-shapes. I wasn't too keen on special puzzles, but I loved his video. Unfortunately he hasn't had a video update for two months and he doesn't update very often. I still look back on his old videos. And, importantly, I yearn for diligence, but don't do it. Don't try. Even the aim itself is denied.

In conclusion, I made the best choice. I learned that smartphone is not very necessary device for me.

Many famous madmen are not purely mad, but rather use sugar-coated madness.

Do I have to shave again? Its refreshing effect duration is too short to keep me satisfied. Can I solve it with my own daily care? Excuse me, it's too... No! That's not a big deal. At least a daily routine is not essential. I just have to set my mind.

Just focking principle though...

I have been used by the Internet, rather than using the Internet. Until now, I've wasted a lot of time for densely packed boards and time depositing typical youthful frustrations. I didn't believe in myself. So I outsourced and paradoxically tried to find my inner will.

Faith rigs to face challenges that arise from pains that are difficult to share, or to keep us from the imaginary limits of communication.

"Even if you know you're going to lose, you have to challenge that fight"? This is just self-affirmation for masochists. Partial optimization and total optimization are different.

It seems ridiculous and impossible to explain all things in a masochistic unity. Dedicated to the praise of nutrition physicist, the chaos theory of applause, angry screams and ridicule of clamoring to the end of a moaning voice.

No wonder, I was surprised to find that there is such a thing. Well, I wonder if the world is wide. Sometimes it's narrow, but as it is, she's such a sick person. No, surprisingly, I don't think Touhou Chuchu-mon is so deep, no! Isn't it shallow? Yeah, it’s not shallow. Perhaps. What is that? Well, there are various things, for each individual. Unexpectedly, it may be that the old man and Google aren't badly compatible.

Hey, are you satisfied with the fake?

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Dying from a party's miscalculation of firepower is one of the most typical human errors.

Use it to soliloquy or make strange voices. Basically no reply is required.

I wonder if the frequency band is the same because the voice of the girl and the sound of the guitar are about the same pitch.

Tokai OnAir, I thought that no one would get angry even if I was late, but it seems that the working hours are dyed in black peculiar to YouTuber, so it may be just right.

I want to mutter a little soliloquy at this time.

I think that system is quite dangerous. Leakage of personal information
There is concern that the card may be stolen. I promote it with news and commercials, but...

No, what should I do ...

I'm surrounded by a mysterious sense of mission that I have to pull because it's a push

I don't want to charge anywhere else because I'm seriously charging

I think mass production is cute as a fashion, but I don't want to think that I'm wearing that kind of clothes because I'm longing for mass production, so I'm wearing normal clothes ^ _ ^

I have other hobbies and I think I can get off if I want to get off, but even if I say other hobbies, it's a V system and otaku and bangya are similar ...……………………

I feel sorry for the apartment that my family will continue to live in in the future, so I'm still alive, but if I live alone, I'll commit suicide normally. Whoever lives in the apartment that I made the accident property? But it's okay! By that time I'm already dead! ^ _ ^

I was moved to the thread on the altar shelf of my pet and placed a fucking big foliage plant next to it. Do you want to move the altar? Well, even in the heat of the heat, it's important to have pet leaves that are so human that they didn't let me turn on the cooler because they would be damaged if they were hit by the wind.

In chubby magazines, the word "as is" or "individuality" is often used, but just because it sounds better, fat is fat and justified with good words, isn't it too convenient? How sweet is it to me?

Not "obviously", it's just your impression, right?

Is there any kind of data like that?

Cleared the incarnation of the back row world for the first time. It was a victory made up of countless sacrifices. As a result, I got a latent awakening tamadora with unnecessary attribute absorption disabled, which was a bit disappointing. Honestly I wanted it to be ineffective penetration or poison awakening resistant. GungHo Online Entertainment, Inc. is a company whose basic corporate rule is exploitation using randomness.

GungHo Online Entertainment, Inc. is one of the most notorious Japanese companies founded in the 21st century and has caused immeasurable losses to Japanese society. In particular, Daisuke Yamamoto, who developed Puzzle and Dragons, a social game app for smartphones, is the root of all evil. He opened Pandora's box and ruined the future of teenage students. He is also trying to strangle the Puzzle and Dragons he gave birth to, rather than prolonging their lives. Not only does he not offer the right price to the users who support his life, he seems happy to bully them. I can't change Daisuke's personality, but people won't tolerate him forever, and by then his beloved electronic feudal system will collapse.

Do you know the majestic existence which named "Ketsuge Biribirizaemon"? Wanna guess its actual mean by yourself?

It means "a person who vigorously tears off the pubic hair around the anus."

A subordinate reported that he had captured Kunoichi, who had invaded the mansion.

"Are you the mastermind behind this organization? Huh, how do you feel to look down the captured Kunoichi?"

In the dim torture room, Kunoichi has her hands tied up with ropes and is suspended in the air.

"I won't give you any bad advice. If you release me right now, you can save your life. Could you untie this rope?"

She says something interesting. She seems to have a name Yomi.

A beautiful and bewitching Kunoichi is desperately trying to untie herself while twisting herself.

".........You won't do that. Well, I knew it. What? What's that whip? Are you going to tease me with it?"

She glares at me with a keen eye.

I ordered my subordinates to take her without taking off her clothes.

"You look happy. With such vulgar smile, you have tortured many Kunoichis so far, huh?"

Large breasts that have developed to an unnecessary size as a woman, peach-like buttocks, and soft thighs, they all are reflecting in a dim room.

Her glossy bodysuit tighten her whole body and makes her looks more voluptuous.

“………I have no interest in what you were doing to them. It's just that the captured were immature.”

......Honestly, I just staring at her seems to be sucked into her body.

I hear that Kunoichi is good at seducing men, so let's torture and break her soon.

"But I was one of those immature Kunoichis too. I'm ready. Come on. Do what you want."

Perhaps she made up her mind, stopped resisting, and limply relaxed her body.

She staring up at me with a depressed face expression.

"What are you going to do first? Do you keep hitting with that whip until I scream? Where do you hit first? Face, arm, or this leg?"

Quickly and silently, she raised her one leg.

She has only her hands restrained, so she can move her lower body freely.

“………Fufu, what's wrong, why are you staring at my legs so much? Do you want to touch it? Do as you like. I don't care.”

Her lewd legs of Kunoichi which opened widely. Her lower body which stuck the suit perfectly.

Is she seducing me or trying to fall into her trap me?

"I can't even resist because my hands are blocked. No matter what you do to me, I can't anything."

...In short, is she surrendering to me?

This is her last expression of will as a ninja, and it means she prepared for whatever happens to her body?

We built computers to expand our brains. Originally scientists build computers to solve arithmetic, but they turned out to be incredibly useful for many other things as well: running the entire internet, lifelike graphics, artificial brains or simulating the Universe, but amazingly all of it boils down to just flipping zeros and ones. Computers have become smaller and more powerful at an incredible rate. There is more computing power in your cell phone then there was in the entire world in the mid 60s. And the entire Apollo moon landing could have been run on a couple of Nintendos. Computer science is the subject that studies what computers can do. It is diverse and overlapping field but I'm going to split it into three parts. The fundamental theory of computer science, computer engineering, and Applications. We'll start with the father of theoretical computer science: Alan Turing, who formalised the concept of a Turing machine which is a simple description of a general purpose computer. People came up with other designs for computing machines but they are all equivalent to a Turing machine which makes it the foundation of computer science. A Turing machine contains several parts: An infinitely long tape that is split into cells containing symbols. There is also a head that can read and write symbols to the tape, a state register that stores the state of the head and a list of possible instructions. In todays computers the tape is like the working memory of RAM, the head is the central processing unit and the list of instructions is held in the computer's memory. Even though a Turing machine is a simple set of rules, it's incredibly powerful, and this is essentially what all computers do nowadays. Although our computers obviously have a few more parts like permanent storage and all the other components. Every problem that is computable by a Turing machine is computable using Lambda calculus which is the basis of research in programming languages. Computability Theory attempts to classify what is and isn't computable. There are some problems that due to their very nature, can never be solved by a computer, a famous example is the halting problem where you try to predict whether a program will stop running or carry on forever. There are programs where this is impossible to answer by a computer or a human. Many problems are theoretically solvable but in practice take too much memory or more steps than lifetime of the Universe to solve, and computational complexity attempts to categorise these problems according to how they scale. There are many different classes of complexity and many classes of problem that fall into each type. There are a lot of real world problems that fall into these impossible to solve categories, but fortunately computer scientists have a bunch of sneaky tricks where you can fudge things and get pretty good answers but you'll never know if they are the best answer. An algorithm is a set of instructions independent of the hardware or programming language designed to solve a particular problem. It is kind of like a recipe of how to build a program and a lot of work is put into developing algorithms to get the best out of computers. Different algorithms can get to the same final result, like sorting a random set of numbers into order, but some algorithms are much more efficient than others, this is studied in O(n) complexity. Information theory studies the properties of information and how it can be measured, stored and communicated. One application of this is how well you can compress data, making it take up less memory while preserving all or most of the information but there are lots of other applications. Related to information theory is coding theory. And Cryptography is obviously very important for keeping information sent over the internet secret. There are many different encryption schemes which scramble data and usually rely on some very complex mathematical problem to keep the information locked up.

These are the main branches of theoretical computer science although there are many, more I don't have time to go into Logic, Graph Theory, Computational Geometry, Automata Theory, Quantum Computation, Parallel Programming, Formal Methods and Datastructures, but lets move on to computer engineering. Designing computer is difficult because they have to do so many different things. Designers need to try and make sure they are capable of solving many different kinds of problem as optimally as possible. Every single task that is run on the computer goes through the core of the computer: the CPU. When you are doing lots of different things at the same time, the CPU needs to switch back and forth between these jobs to make sure everything gets done in a reasonable time. This is controlled by a scheduler, which chooses what to do when and tries to get through the tasks in the most efficient way, which can be very difficult problem. Multiprocessing helps speed things up because the CPU has several cores that can execute multiple jobs in parallel. But this makes the job of the scheduler even more complex. Computer architecture is how a processor is designed to perform tasks and different architectures are good at defferent things. CPUs are general purpose, GPUs are optimised for graphics and FPGAs can be programmed to be very fast at a very narrow range of task. On top of the raw hardware there are many layers of software, written by programmers using many different programming languages. A programming language is how humans tell a computer what to do and they vary greatly depending on the job at hand from low level languages like assembly through to high level languages like python or javascript for coding websites and apps. In general, the closer a language is to the hardware, the more difficult it is for humans to use. At all stages of this hierarchy the code that programmers write needs to be turned into raw CPU instructions and this is done by one or several programs called compilers. Designing programming languages and compilers is a big deal, because they are the tool that software engineers use to make everything and so they need to be as easy to use as possible but also be versatile enough to allow the programmers to build their crazy ideas. The operating system is the most important piece of software on the computer as it is what we interact with and it controls how all of the other programs are run on the hardware, and engineering a good operating system is a huge challenge. This brings us to software engineering: writing bundles of instructions telling the computer what to do. Building good software is an art form because you have to translate your creative ideas into logical instructions in a specific language, make it as efficient as possible to run and as free of errors as you can. So there are many best practices and design philosophies that people follow. Some other important areas are getting many computers to communicate and work together to solve problems. Storing and retrieving large amounts of data. Determining how well computer systems are performing at specific tasks, and creating highly detailed and realistic graphics. Now we get to a really cool part of computer science, getting computers to solve real world problems. These technologies underlie a lot of the programs, apps and websites we use. When you are going on vacation and you want to get the best trip for the money you are solving an optimisation problem. Optimisation problems appear everywhere and finding the best path or most efficient combination of parts can save businesses millions of dollars. This is related to Boolean Satisfiability where you attempt to work out if a logic formula can be satisfied or not. This was the first problem proved to be NP-complete and so widely considered to be impossible to solve, but amazing development of new SAT solvers means that huge SAT problems are solved routinely today especially in artificial intelligence. Computers extended our brains multiply our cognitive abilities.

The forefront of computer science research is developing computer systems that can think for themselves: Artificial Intelligence. There are many avenues that AI research takes, the most prominent of which is machine learning which aims to develop algorithms and techniques to enable computers to learn from large amounts of data and then use what they've learned to do something useful like make decisions or classify things. And there are many different types of machine learning. Closely related are fields like computer vision, trying to make computers able to see objects in images like we do, which uses image processing techniques. Natural language processing aims to get computers to understand and communicate using human language, or to process large amounts of data in the form of words for analysis. This commonly uses another field called knowledge representation where data is organised according to thier relationships, like words with similar meanings are clustered together. Machine learning algorithms have improved because of the large amount of data we give them. Big data looks at how to manage and analyse large amounts of data to get value from it. And will get even more data from the Internet of Things, adding data collection and communications to everyday objects. Hacking is not a traditional academic discipline but definitely worth mentioning. Trying to find weaknesses in computer systems, and take advantage of them without being noticed. Computational Science uses computers to help answer scientific questions from fundamental physics to neuroscience, and often makes use of Super Computing which throws the weight of the worlds most powerful computers at very large problems, often in the area of Simulation. Then there is Human Computer Interaction which looks at how to design computer systems to be easy and intuitive to use. Virtual reality, Augumented Reality and Teleprescence enhancing or replacing our experience of reality. And finally Robotics which gives computers a physical embodiment, from a roomba to trying to make intelligent human like machines. So that is my Map of Computer Science, a field that is still developing as fast as it ever has despite that fact that the underlying hardware is hitting some hard limits as we struggle to miniaturise transistors any more, so lots of people are working on other kind of computers to try and overcome this problem. Computers have had an absolutely huge impact on human society and so it is going to be interesting to see where this technology goes in the next one hundred years. Who knows, perhaps one day, we'll all be computers. As per usual if you want to get hold of this map as a poster I have made it available so check in the description below for some links, and also if you want to find out more about computer science I recommend you check out the sponsor for this video brilliant dot org. Please often ask me how to go about learning more about the kinds of subjects I cover in these videos, and as well as watching videos, a really great way is to get down and solve some real problems. And brilliant does and excellent job at this. It's a really cool website and also an app which helps you learn by getting you to solve interesting problems in science, mathematics and computer science. And each of the courses starts off kind of easy and fun and then gets more and more challenging as you master the concepts. If you want to learn specifically about computers science they have got whole courses built around topics in this video like logic, algorithms, machine learning, artificial intelligence, so if you want to check that out brilliant dot org slash dos, or even better click the link in the description below because that lets them know that you have come from here. So thanks again for watching, and I'll be back soon with a new video.

A subordinate reported that he had captured Kunoichi, who had invaded the mansion.
"Are you the mastermind behind this organization? Huh, how do you feel to look down the captured Kunoichi?"
In the dim torture room, Kunoichi has her hands tied up with ropes and is suspended in the air.
"I won't give you any bad advice. If you release me right now, you can save your life. Could you untie this rope?"
She says something interesting. She seems to have a name Yomi.
A beautiful and bewitching Kunoichi is desperately trying to untie herself while twisting herself.

".........You won't do that. Well, I knew it. What? What's that whip? Are you going to tease me with it?"
She glares at me with a keen eye.
I ordered my subordinates to take her without taking off her clothes.
"You look happy. With such vulgar smile, you have tortured many Kunoichis so far, huh?"
Large breasts that have developed to an unnecessary size as a woman, peach-like buttocks, and soft thighs, they all are reflecting in a dim room.
Her glossy bodysuit tighten her whole body and makes her looks more voluptuous.
“………I have no interest in what you were doing to them. It's just that the captured were immature.”
......Honestly, I just staring at her seems to be sucked into her body.
I hear that Kunoichi is good at seducing men, so let's torture and break her soon.

"But I was one of those immature Kunoichis too. I'm ready. Come on. Do what you want."
Perhaps she made up her mind, stopped resisting, and limply relaxed her body.
She staring up at me with a depressed face expression.
"What are you going to do first? Do you keep hitting with that whip until I scream? Where do you hit first? Face, arm, or this leg?"
Quickly and silently, she raised her one leg.
She has only her hands restrained, so she can move her lower body freely.
“………Fufu, what's wrong, why are you staring at my legs so much? Do you want to touch it? Do as you like. I don't care.”
Her lewd legs of Kunoichi which opened widely. Her lower body which stuck the suit perfectly.
Is she seducing me or trying to fall into her trap me?

"I can't even resist because my hands are blocked. No matter what you do to me, I can't anything."
...In short, is she surrendering to me?
This is her last expression of will as a ninja, and it means she prepared for whatever happens to her body?
"Don't look with such disgusting leer eyes. Look, I raised my leg. You can touch you like and you can even press or rub your cheeks against my leg."
She raises her legs high and shows her twat to me.
Her lower body is slightly damp with sweat, and I feel that there is a sweet scent even though I should be at a distance, probably because of my mind.
"Good, come here slowly......... Fufu, your face is close."

......What am I doing?
I realized her pubic area in front of me.
"Do you want to sniff my honeypot so much?"
Her twat through the suit is slightly wet.
Is this sweat? The heat comes from her lower body.
"Okay, bury your face in Kunoichi's honeypot that seduces a man, and get drunk with the sweet scent, do"
Yes, anyway, this woman is detained.
What can she do in this situation?
"Do you feel my body temperature through the honeypot...? Fufu, it's poisonous to your body if you inhale too much."
......A little bit of a quick breath makes my chest terrifyingly hot.
This is Kunoichi's body, a honeypot that squeezes its prey, and a fascinating trap that cannot be escaped once it enters.

"What's wrong, your breathing is getting rough. Did you get so excited by the smell of my honeypot?"
Her plump thighs are wrapped in a suit and shining bewitchingly.
……What kind of feeling if I touch this? Like a soft thigh, or a glossy bodysuit?

"Come on... I'll put my legs on my shoulders. You cannot anything with my honeypot yet, but you can do whatever you like on my legs."
Suddenly something rested on my shoulder.
She is lowering her leg, which she had been holding up until now, toward me.
"How do you feel when you touch it? Good? Kunoichi's legs are more than just soft legs, like a mediocre virgin."
Shit. She trapped me. What is she going to do from now on?
I must get out from these legs immediately. I must shake and escape from these massive and soft legs.
"Look, with just a little strength like this, my legs can serve as a weapon that can strangle even the beast."
At that moment, her massive legs sandwiched my neck.
Guk... I can't breathe. If this keep going, I'll choked by her thighs.

"Haha, you don't have to be so cautious. I won't strangle you in this situation. Come on, feel the feel of Kunoichi's legs as much as you like."
Yomi relaxes her legs while laughing and releases her prey from her thighs.
Then, she gently rubbing her thighs against my cheeks, as if to say I'm sorry.
"Fufu. The commander of the large unit is excited to rubbing his cheek against Kunoichi's legs. That's so funny, right?"
My chest is terribly hot from a while ago, probably because I was tossed about her glossy legs.
When I looked up, she is looking down at me as show off her leeway.

"Why do men like women's legs? I've strangled many men with my legs in the past, but somehow few people resist."
Don't be upset. On second thought, I should be in a much higher position than hers.
Now let's enjoy this legs to the utmost.
"At one time, there was a hitman who had the skill to hunt me down, but at that time I managed to get around behind him with a chance."
While talking, she begins to hang her legs around my neck again.
"Then I knocked down him and tightened his neck with both my legs, that was funny."
She squeezing my face between her thighs sweetly.
A warm feeling different from the previous one gently wraps my face.

"He desperately puts his hand around his neck, but also I'm desperate to survive and I take pride in being Kunoichi."
……What, something is wrong.
Not only my neck but also my lower body is tickling by something.
"I slowly applied pressure my thighs to weaken him, so that I wouldn't lose the prey I caught."
Something is groping around my lower body through the trouser.
Something is stealthily crawling and approaching, moving like scratching something.
"I was seeing his face sandwiched between my thighs. As I continued to put my strength into it, his face gradually turned pale, breathing became thinner, and he finally fainted."
I can't see the lower because I'm being caught between her thighs.
She tenderly sandwiches me with her legs, and she doesn't release me from her legs.

"He might be pretending to be fainted, so I kept tightening for a while just in case, and I found a lot of semen leaking from his corpse."
My body bounced.
Barely I did not reaching orgasm, but my body ended up reacting to the motion of something that grope my lower body.
"Looking back now, he may have been climaxing as of he sandwiched by my thighs."
She is staring at me with a bewitching look.
What, what are you doing right now?
"I wonder how he felt when he was strangled by thighs of Kunoichi who is cornered by him, huh?"
I managed to escape from her thighs with all my strength.
I'm out of breath and desperately keep distance from Kunoichi in front of me.

"I wonder if he would have felt an inescapable hellish agony. Or, strangling by thighs, if he would have seen my face look like a celestial maiden, and felt like be in Paradise."
As I stared, her other leg, opposite of the one which had been sandwiching my neck, was moving.
The toe is moving as if it is still tampering with my lower body.

0:02 Fantaisie-Impromptu / Chopin

0:30 Etude OP10-4 / Chopin

0:53 Moonlight Sonata 3rd mov / Beethoven

1:27 Waldstein Sonata 1st mov / Beethoven

2:10 Sonata Pathetique 3rd mov / Beethoven

2:27 Zigeunerweisen / Sarasate

2:45 Csardas / Monti

3:08 Fugue in G minor / Bach

3:21 Toccata and Fugue in D minor / Bach

3:47 Canon / Pachelbel

3:53 Farandole from L'Arlesienne / Bizet

4:09 Hungarian Rhapsody No.6 / Liszt

4:27 Hungarian Rhapsody No.5 / Liszt

4:38 Slavonic Dances OP72-2 / Dvorak

4:58 The Battle of Waterloo / Anderson

5:09 June, Barcarolle from Les Saisons / Tchaikovsky

5:23 Prelude from Carmen / Bizet

Is the Bunker Ring really necessary for the iPad mini? My answer is, "It's not required, but it can improve convenience." Convenience is more specifically to aid in ease of holding and reduce the risk of dropping. As you know, the iPad mini has a smooth, thin aluminum housing with rounded corners, and users should always be wary of the danger of slipping out of their hands. (This doesn't seem to be a serious problem for people who use the iPad on their desk all the time, but the iPad mini is the most portable iPad, and many users should have it in their hands.) Bunker Ring Can't eliminate this risk, but it can reduce it. Another important thing is the thickness of your fingers. In my measurement, the inner diameter of the Bunker Ring is 2.4 cm at the longest point and 2 cm at the shortest point. (Most are 2.4 cm, only about 1 cm with hinges is 2 cm.) That is, if your finger is close to this, your finger is better suited for the Bunker Ring. However, you can use it even if your fingers are relatively thin. Again, the Bunker Ring isn't "essential" for the iPad mini (or any device). Bunker Ring is a kind of insurance. It costs less than $ 20 and reduces the chances of your smartphone or tablet falling and ruining it. This Korean ring is invaluable to those who handle the device improperly, like someone trying to use the iPad mini with one hand. We should use our device properly.

In fact, the style of leaving the thoughts of field subject agents growing in all fields as achievements is heretical. It's full of gorillas. Collaborative action is slammed to clearly answer the question of what a kiosk terminal is.

I mean, I'm worried about my prostate.

I found an illustrator with the same name as the world's largest rainforest or e-commerce site, so I would like to share my personal impressions about him. According to my typology, he is a typical deformist and very likely to be a reference for important insights into supernormal stimuli. His style seems to be different from both the two maestros I know, doskoinpo and Sennen Comodo. Boobs he draw are bigger and hanging down than doskoinpo and he tend to emphasize nipples and pubic hair. Also, I feel that it is a more pop coloring [verification needed]. He doesn't seem to like muscular heroines as much as Sennen Comodo, but the relatively thick lines are similar. Another decisive difference is the degree of femdom. The men in his work are often (sexually) tossed by heroines, but the obvious masochistic depictions are rare, and the latest work is also valuable in that respect. Unfortunately, I round it up to prevent my seizures, but the general comment is "I have high expectations because he balances motivation and skill and goes well with my taste."

I think we humans, especially the Japanese, have sorrow and are aware of it. Because in the subconscious we realize that our existence and everything we do is not for ourselves. One of the most common examples is racism. And here, new awareness hampered the development of these ideas and even killed them. In other words, the Japanese word "卑近" seemed very symbolic and couldn't be helped.

If we have to lie to live, there seems to be no reason to live.

>>92 Shut up.

That was hurtful fap... Hate it.

The question of whether to unify the patterns will eventually have to be faced. How to make the pole role and the sexual object consistent.

Je ne m'amuserai point ici à rien rapporter de ma naissance, parce que je ne trouve pas que je puisse rien dire qui soit digne d'être rapporté.

Est-il possible d'avoir deux styles différents ou plus dans une seule image? C'est l'un de mes vagues rêves.

J'ai trouvé un illustrateur du même nom que le plus grand site de commerce électronique ou de forêt tropicale au monde, alors j'aimerais partager mes impressions personnelles à son sujet. Selon ma typologie, il est un déformiste typique et très probablement une référence pour des informations importantes sur les stimuli supra normaux. Son style semble différent des deux maestros que je connais, doskoinpo et Sennen Comodo. Les seins qu'il dessine sont plus gros et pendants que doskoinpo et il a tendance à mettre l'accent sur les mamelons et les poils pubiens. De plus, je pense que c'est une coloration plus pop [vérification nécessaire]. Il ne semble pas aimer les héroïnes musclées autant que Sennen Comodo, mais les lignes relativement épaisses sont similaires. Une autre différence décisive est le degré de domination féminine. Les hommes dans son travail sont souvent (sexuellement) ballottés par des héroïnes, mais les représentations masochistes évidentes sont rares, et les derniers travaux sont également précieux à cet égard. Malheureusement, je l'arrondis pour éviter mes crises, mais le commentaire général est "J'ai de grandes attentes car il équilibre la motivation et les compétences et va bien avec mon goût."

After a little hesitation, I excreted almost soundly. With a little bleeding.

Is beauty and strength incompatible?

In other words, beautiful things tend to be fragile. Its brittleness also seems to be related to rarity.

Décision inconstitutionnelle: tournez-vous toujours des vidéos sur un trépied?

La ligne Keihin reliant la gare de Tokyo à celle de Takashimacho (aujourd’hui gare de Yokohama) a ouvert en 1914. En 1924, les services de la ligne Keihin furent prolongés sur la ligne principale Tōhoku jusqu’à Akabane, puis jusqu’à Ōmiya en 1932. L’ensemble pris alors le nom de ligne Keihin-Tōhoku (après avoir été initialement appelé ligne Tōhoku-Keihin).

Les services interconnectés avec la ligne Negishi débutèrent en 1964.

La gare de Takanawa Gateway, 36e gare de la ligne, ouvre au public le 14 mars 2020.

Often the problem ends up at the same end point. Will I be gone or will the others be gone? Or will I be gone with someone? Which one do I choose? It's a simple matter with few choices.

Excuse me, can I hit Dacho?

I just learned that the wreckage of Jun Moai had subscribing Nechorika, so I chuckled smugly.

A product that is not essential but can improve convenience on a daily basis. Like wireless headphones.

Today I will be reviewing and analysing the music of Touhou 17 demo. I've been reading comments over the internet and many have felt that the music sounds experimental, weird, interesting and etc. So I guess I will be dissecting the music up and comment on what I find interesting and stuff like that. Note that there might be some inaccuracies in this analysis as the the featured music sheets are transcribed by me and I ain't have perfect ears. OK?

Touhou 17 Title Screen Theme: Silent Beast Spirits
Definitely gives off that mysterious yet menacing vibe which is not surprising for a Hell themed game. In the intro, ZUN placed G# (1 semitone away from the tonic) on every 4th beat of the bar. The leading tone packs a lot of tension and really wants to resolve upwards to the tonic note (A) but ZUN decides to keep that tension there. But I will resolve it for you so you guys can hear what it sounds like. And the next section, the theme of eastern story comes into play but this time sounding creepy. The diminished chord (red) played at every 4th beat helps to give off that darkish feel. While that C natural note (blue) in the melody functions as a chromatic note also contributes to that creepy/darkish feel. You may argue that this section of the OST is in C# harmonic minor scale because of the raised 7th (B# being enharmonic to C natural) But I feel that chromaticisms would fit better in this context because ZUN usually uses chromaticisms to make his music sound creepy. The same technique is used as the previous section but this time I want to show you the aggressive bass being used. Not to mention that pretty aggressive instrumentations are also being used in this OST too. For the next section, ZUN adds and extra layer of melody ontop of the pre-existing melody from the intro. And now he mashes the theme of eastern story with that intro motif which is one of the common techniques ZUN uses to have both melody playing : (mashing up pre-existing melodies together). Definitely one of the more complex and interesting title screen theme ZUN has composed. But I still prefer Mysterious Purification Rod.

Touhou 17 Stage 1 Theme: The Lamentations Known Only by Jizo
Gives me a melancholic yet captivating feel. Yes, the doll maker of Bucuresti motif is back along with the 'even beat same note pattern' (apparently this technique is called 'Pedal'). This technique is commonly used by ZUN in stage themes to give off that atmospheric vibe (?) [don't really know how explain the feeling lol]. Since the repeated note is the dominant note of the key, it's called a dominant pedal here. Really love the bass and choir here. They seem to be played independently. So there are like at least 4 voicings being effectively played in the intro: Melody, Bass, Choir and Guitar spam which I did note transcribe. It uses a chord progression of VI > VII > vii dim > i which is played by the guitar strumming (Didn't add it in due to space constraint and I'm lazy to learn how to display my MuseScore sheet music horizontally instead of vertically lol). And it's not really an uncommon chord progression used by ZUN. But I feel that because of how prominent the choir (and maybe bass) are, it's really easy to divert your attention onto them instead of the guitar chords playing the common Touhou chord progression. Not to mention that the combination of these all voicings would make some interesting harmonies. Hence, in my opinion, the intro doesn't really sound Touhou-like although it uses common Touhou chord progression. Also feel free to refer back to the original OST to hear parts that I did not transcribe or when I talk about instrumentations later on (I won't replicate them because it will take me effort to get those VSTs and experiment with them). Or you can refer to Williatico's transcriptions (He makes pretty accurate transcriptions and tries to replicate the sound and usually post the VST instruments he used in the description). Next section is just a simple Touhou melody with the chord progression of VI > VII > vii dim > i. Sounds pretty Touhou-like. I really like the spooky lead instrument used for the melody. It gives off that captivating (?) vibe here. Next section, we can hear that ZUN is trying something new here. Taking both bass and choir into our harmonic analysis, we can see that ZUN is trying to modulate from a minor key to a major key. And here are the chords notated down in root position (for easier analysis). However, G# major chord (V) does not exist in C# minor and neither does Bb dim chord (ii dim) exist in Ab major. So ZUN borrowed the V chord from C# minor's parallel key (C# major) and that V chord (G# B# D#) happens to be the I chord of Ab major. (G# B# D# is enharmonic to Ab C Eb) Likewise, ZUN borrowed from Ab major's parallel key (Ab minor) to obtain that (ii dim) Bb dim chord (Bb Dd Fb). To summarise, ZUN tries to modulate from C# minor to Ab major using the same chord found in C# minor parallel key (C# major) and Ab major. As for why ZUN tries to borrow from Ab minor while trying to establish a Ab major tonic, I have no idea why (To trick listeners to think that the song is still in the minor key?). Eb note in melody when the chord has a E natural note instead of Eb note? Weird. Either way, those 2 bars sound pretty weird to me. I guess ZUN is still on the experimentation stage. Maybe in the future we can hear some smooth and sick modulation from him. Do note that I might have trascribed that part wrongly which would deemed my analysis futile but the key point is that ZUN is trying to modulate from C# minor to Ab major, something that you don't see otten from ZUN. Why Ab major though?

Because the next section is in F minor which is the relative key of Ab major and the range of the melody fits just nice in the middle (not too low or high). In the last section, the chord progression is just the usual VI > VII > i with a simple melody. Typical Touhou sounding part. Parts of this section really sound like Egoistic Flower. i have compared them off- screen and the general motion of both melodies is really similar, and not to mention the melody structure and phrasing is also really similar. But I have decided not to mash them up and showcase it here because I have already spent so much time on this stage theme and parts of both melodies do clash too so might need to rework on the mashup arrangement if I ever work on it. Same spooky lead instrument is used here. Choice of instrumentations is really important in deriving a song's mood. Even though it uses a simple melody and the usual Touhou chord progression, it really gives off a different mood from other OST's that use the same technique. In my opinion, the intro and the section after the 1st melody stands out from this OST.

Touhou 17 Stage 1 Boss: Jelly Stone
Probably one of the more popular OSTs in Th17 demo. Really catchy and melodious. To be honest , I don't really have much to talk about this song so I will go through it quickly (Nice bass riff at 3rd-4th bar by the way). Quite a drum focused song, which of course helps to contribute to its catchiness. Uses the common Touhou chord progression : VI > VII > v > I and has quite a simple yet melodious melody. Spooky lead instrument is used here again. Has a fast tempo of around 174 BPM and uses pretty short value notes (many quavers). Really makes the OST feel energetic and lively. Really suited for a rock arrangement or.... a.... STONE ARRANGE.

Touhou 17 Stage 2 Theme: Lost River
Gives me this unstable and lost feeling. A music in 3/4 time signature. Not really an uncommon time signature but I guess it's nice to have something other than 4/4. It's probably pretty obvious to any listener s that some interesting chords are being used. So lets jump into the chords and harmonies of the intro. The first thing to note that is that for the most part of the music, it alternates between 2 keys every 4 bars. By continuously looping between only 2 keys, the music doesn't seem to have an actual resolution. That makes the music feel like it's note going anywhere, which as the name of the music implies, a "Lost" feeling. Anyway lets go back to the chords and harmonies. Lets first look at the bass and the ostinato of the first 4 bars. We can see that it alternates between notes based on F# minor 2nd inversion chord and C# sus4 chord which is just literally just resolution > suspense > resolution > suspense ... Likewise, for the next 4 bars, it alternates between notes based on D minor 2nd inversion chord and A sus4 chord. And this repeat for the most part of the music. And because this progression is pretty dull, ZUN tries to add some spice to the song with those arpeggio chords (curly symbol). Here are the chords notated in root position (Easier to digest for you guys). And overall it invokes this sad feeling using minor chords, tenseness using suspended chords. I really like that D(b5) chord, feels eerie yet suspenseful (The chord has Tritone interval and Major 2nd interval). Personally, I wouldn't analyse the chords together with the bass because the bass suggests that the music isn't progressing harmonically so I'm stopping here. And the purpose of inversion is to have a nice motion in the upper chord voicing and also to connect the chords smoother. Interestingly, the melody alternates between 2 keys. Note the first time ZUN has done this though. Music like "No More Going Through Doors" and "Doll Judgement" have its melody played over 5 changing keys/chords. The usage of acciaccatura really gives an 'unstable' feeling. And parts of the main melody beat keep landing on the offbeat, creating this 'unexpected' feeling. The main melody is pretty simple and follows the common Touhou chord progression of VI > VII > i. I love that Oboe instrument used here. Really sweet and smoothing. This melody really sounds like it could be part of Aya's theme lol. Next part is my favourite. Now, instead of doing his plain old boring direct modulation to transpose the melody up to a higher key so as to increase the energy of the song. He now adds harmonies ABOVE the melody. You can say that the new harmony is now the new melody while the old melody functions as harmonies. The combination of the Oboe and the added Lead instrument is really nice too.　

Touhou 17 Stage 2 Boss Theme: The Stone Baby and the Underwater Cow
Weird yet catchy theme. I love the bass lol. First, I want to talk about the bass. Honestly, only the first 6 bars sounds weird. That's because the bass is played 1 higher than the usual range and around Bar 3-5, it sounds really dissonant and weird because it intersects with the melody. And after 6 bars, the bass range drops 1 octave lower and it doesn't sound that bad anymore. lol look at all those dissonant intervals from bar 3-6 (with respect to melody and harmony). The intro and pre-melody section contains many non-diatonic notes with respect to G# minor key. I did try to look for other alternatives to explain for those non-diatonic notes such as modal scales. But my end conclusion would be to think of ZUN adding non-diatonic notes in a minor scale in an attempt to make this music sound weird. Which is honestly not surprising with so many dissonances and that bass. Just like Lost River, this section has quite a few syncopations. The bass is also really similar to the doll maker of Bucuresti motif but with like the 7th note pushed up a semitone. The melody section contains a moderately simple melody. To be honest, what really sets it apart from a simple melody is that there are a shit tons of syncopations here. It uses the chord progression (in root position) of VI > VII > i > VI > VII > vii# min > V which is a pretty interesting chord progression. And apparently ZUN uses some kind of clarinet in the lead melody to emulate the 'moo' sound. Befitting for a cow theme lol

Touhou 17 Stage 3 Theme: Everlasting Spider Lily
Gives me this dreamlike and relaxing feel. The music stars out with a counter melody where the motion seems to ascend and descend alternatingly every bar, creating this dreamlike feeling. It sounds similar to Eternal Spring Dream intro so I will be looking at that too later. The melody is pretty simple too. It follows the chord progression (in root position) of i > VII > vi# dim > VI > vii# dim and then i > VII > vi# dim > VI > III > IV > V. It's a pretty unique progression and it's based on the melodic minor scale (raised 6th and 7th). Really nice melody and countermelody relationship. Sadly, since the intro of Eternal Spring Dream is composed over different keys/chords, it will be inaccurate to compare by mashing the 2 music together. So we will be comparing via the motion of the 2 music instead. If we split the music into 2 notes per group, we can see that the 1st quaver tend to be higher than the 2nd note. So if we remove the 'not as important' lower note, we will be able to see the overall motion of the 2 music. And it doesn't seem like they follow the same motion. So my end conclusion would be that they are semi-similar. They do share similar patterns (1st note tend to be higher than 2nd) and sometimes even have the exact same notes/motion. But overall, their general motion is different. They do share the same dream-like emotion in my opinion though, due to the "1st note tend to be higher than 2nd" pattern. In this section, ZUNpet is used as the lead melody and a new counter melody is introduced. The counter melody sounds like 'The Shining Needle Castle Sinking in the Air' so I'll be looking at that later too. Really love how the ZUNpet is used here. It sounds surprisingly relaxing instead of blaring. It uses a chord progression (in root position) of VI > i > III > VI > VII >II VI > i > III > VI > VII > V and it's a pretty unique chord progression. And ZUN cleverly uses inversions to get that bassline progression that I have played before this. Interestingly, since this music is more bass oriented, I wasn't able to hear any form of 'filling' instruments such as choir and strings that are usually used to play the chord progressions. So I had to deduce the chord progression via the notes from the ZUN's funky bass and also play-testing whether it sounds correct on my piano. Kill me please. Sadly, Shining Needle Castle is in 3/4 while Everlasting Spider Lily is in 4/4 so not it's not really accurate to compare via mashing up so I'll be comparing via their motions instead. We can see that the 5 notes or both OSTs which are under the red arrows have almost exactly the same notes and motion, so yes, they sound very similar.

Touhou 17 Stage 3 Boss Theme: Seraphic Chicken
Sadly, I can't really tell what vibe this music is trying to emit. But it's nice to see ZUN experimenting with new time signatures. I have seen many people saying that the time signature of this music intro is in 7/8 or in 7/4 but in my opinion, I feel that 14/8 best fits the music. So lets compare between these 3.
7/8 I will accent on the first beat of every bar. Sounds off on the 1st beat of every 2nd, 4th, 6th, 8th bar.
7/4 I will group them as 3+3+1 and accent the first beat of every group. I will also accent the main melody beat so you guys can hear it clearer. Not as bad as 7/8 but you can hear that the 2nd, 3rd, 5th, 6th beat does not fall on the main melody beat.
14/8 I will group them as 3+3+3+3+2 and accent on every first beat of every group. Perfect.
How about the part with 7 groups of 2 quavers? Lets try 7/8 where I will accent on the first beat of every bar. I will also accent on the 1st note of every group of 2 quavers. Sounds pretty off like before.
7/4 Perfect.
14/8 Perfect. Both 14/8 and 7/4 fits nicely here.
To conclude, 14/8 best fits the time signature of "Seraphic Chicken". 7/4 is acceptable but 7/8 is a no no.
The intro pulse really reminds me "The Magic Straw Hat Jizo" lol
The main melody follows the chord progression of VI > VII > v > i. Pretty common Touhou chord progression. Melody is quite syncopated. Don't really have much to say about it but I guess it's nice. I think "Seraphic Chicken" is one of the popular Touhou 17 demo OSTs, but I find it meh mainly because of this section. Because it's mainly just copy pasting and direct modulations which is pretty uncreative in my opinion. At least ZUN made the effort to introduce some bass, piano and clavinet spam midway. So I guess just enjoy the rest of the music while I conclude Touhou 17 demo OSTs. In my opinion, ZUN has really experimented quite a lot in the new music, such as trying out new time signature, syncopated melodies, new chord progressions, harmonies, modulations, voicings and adding some nice bass riffs. And talking about bass, the bass is really prominent in the new OSTs. I guess like how people call Imperishable Night the piano game, I shall call Touhou 17 demo the bass game lol.

Here are the features I find interesting for each individual music from Touhou 17 demo
Title Screen - Interesting complexity for just a title screen
Stage 1 theme - Multi voicings for intro and interesting modulation
Stage 1 Boss theme : None
Stage 2 Theme - ZUN trying to use interesting chords, melody in 2 alternating keys, syncopated melody
Stage 2 Boss - Many non-diatonic notes and that bass
Stage 3 Theme - Interesting bassline, chord progression, good melody + counter melody relationship
Stage 3 Boss Theme - Time Signature, 2-3 instruments spamming simultaneously

To be honest, the music doesn't really appeal to me on the first listen. I had to listen a few more times to get used to the music. OSTs like Th15 Stage 6 Theme and 'No More Going Through Doors' are the ones that made me like them instantly. Will I continue doing these type of videos? If the future music are unique enough and they interest me enough, then maybe. To be honest, I'm pretty sick of repeating the same techniques used by ZUN. Haha chromaticism induce spookiness haha. And also transcribing every single music is a pain in the ass too. so... Bye

As usual, all the OSTs featured here are transcribed by me. There might be inaccuracies in the transcriptions but I don't think it will affect the overall analysis much. Also, I will be notating all chord progressions in root position.

Touhou 17 Stage 4 Theme: Unlocated Hell
A music composed for a Hell setting and ZUN's attempt in making a heavy metal music. It won't be surprising if harsh instruments like electric guitars are being used here. Dissonances might be common here too. In the intro, one of ZUN commonly used pattern (high low high low pattern) is used as the music motif. Although a single phrase of motif last for 2 bars of 4/4, it can be felt in 9/8 + 7/8 time signature. Chord prog wise, the intro revolves itself around the tonic chord (D minor) for the first 8 bars. While for the next 8 bars, it seems to be alternating between i and V7. ZUN also used chord tones to form additional voicing in the bass so that's pretty cool. I guess ZUN is aiming for this resolution > tension > resolution > tension feeling as the last 8 bars alternate between a tonic chord and a dominant seventh chord. One aspect of the intro I want to talk about is this. If you look at the last 4 bars of the intro, you can see that ZUN added some kind of harmony/melody (notated in blue) ABOVE the pre-existing motif (notated in both green and orange). A pretty common technique used by ZUN to increase the tension of the song without modulating the song to a higher key and most of the time, ZUN just adds an interval of third above the melody. I did talk about this in my previous video, but I am repeating this technique so that I can give a name to this technique for easier references in the future. I shall call it "Upper Harmony/Melody". For the next section, there is an interesting interaction between the piano melody and the electric guitar motif called the "Call and Response".
Call... (Piano)
Electric guitar sounds absolutely like garbage in MuseScore so I didn't change the instruments.
Response... (Electric Guitar)
Electric guitar sounds absolutely like garbage in MuseScore so I didn't change the instruments.
Call... (Piano)
(I really like the bass here)
Response... (Electric Guitar)
Those fast notes in the bass kinda imitate the feel of pitch blending.
Chord Progression is nothing unusual here, just your typical i > VI > i > VII > VI. The only thing unusual is ZUN choice of instruments. Using piano in an attempted heavy metal music and contrasting a pleasing instrument against a harsh instrument lol. Next section is just ZUN preparing for modulation from D minor to F minor, really common for ZUN to modulate his music a third or a semitone apart. You can also see his increasing usage of the sharpened 7th note in his music too. I feel that his main purpose of modulation is to modulate the music to a higher pitch to prepare for his next piano solo section. Because piano usually sounds cleaner and nicer at a higher pitch. This melody sounds pretty experimental because it uses quite a bit of chromatic passing notes. Bar 6 seems to have borrowed notes from the parallel F major, accounting for the natural A and E (to be honest bar 6 sounds weird to me, probably because of ZUN's "wrong" choice of melody notes?). It does sound nice though due to the acciaccaturas and semiquavers notes being added while also partially because piano instrument is used. Chord Progression for this section is VI > VII > v > i iv > V > VI > #vii min > V. The last section is pretty epic, two melodies playing concurrently. It seems that ZUN just adds a new melody layer above the piano solo because the chord progression is the same as the one used in the piano solo. However, I feel that the way ZUN composes the new melody is by creating a new melody line from his MIDI keyboard and then slamming the line above the piano solo. I say this because there are quite a lot of dissonances between the 2 melodies and if lets say ZUN were to create the new melody based on the piano solo, then there shouldn't be so much dissonances. Because ZUN would at least bother harmonising the 2 melody lines.

Now it's just chunks of dissonance intervals here and there (I will put both melodies in the same range after this so it will be easier to hear the dissonances). For the last section, it seems that ZUN is trying to let all the energy out with the held ZUNpet notes while also trying to build tension up for the very last time (as seen from the ascending bassline on the 2nd stave). I have put both melody lines together at the same pitch. Another reason why dissonances can be heard much easier is because I used piano for both the melodies. Because of the piano's natural timbre, colour and etc, its much easier to hear certain dissonances compared to like in electric guitar.

Touhou 17 Stage 4 Boss Theme: Tortoise Dragon
Hard to describe, but it feels floaty and draggy? The prominent choir voicing with its lengthly held note gives me this floaty and air-y vibe. Similar to Tenshi's theme, Wonderful Heaven I guess. While the draggy feel is mainly due to the music's time signature. A music in 6/4! It feels draggy because each bar lasts longer than the typical 4/4 (obviously). Same with Medicine's theme, I think these 2 are the only Touhou songs with time signature of 6/4. Chord Progression for intro is i > VI > iv > V. Also, did you notice that the intro motif comes in every 3/4 while the running notes comes in every 2/4? Epic 3/4 over 2/4 polymeter. For the next section, I feel the 'melody' pulse coming in every 2/4 while the staccato chords at comes in every 3/8, so a 2/4 over 3/8 polymeter. You can also just consider the staccato chords as syncopations relative to the melody. I really love the staccato chords to be honest, I think this song has a great potential for a Bossa Nova arrange. For this section, a chord progression of VI > VII > i iv > v > VI > I is used. You can hear the implied Picardy third (major tonic chord at the end of the musical phrase) in the melody as it resolves from the 4th to the raised 3rd. I really love the voicings composed by ZUN in this music as the running notes, staccato chords, choir and etc are used thoroughly in different timings of the music instead of just spamming it all over the place (It sounds more interesting to create a new voicing using choir rather than using choir as a block chord background filler). Rest of the song is just mostly copy pasting and adding a varied motif onto the main melody section so I don't think there's any need to discuss about that.

Touhou 17 Stage 5 Theme: Beast Metropolis
Piano is heavily used in this music. Pretty obvious ZUN is going for the relaxing and emotional vibe in this music. Intro motif is using arpeggios based on a G# min 9th chord. Nice suspension sound between the G# and the A#. For the melody section, it uses the chord progression of i > VII > IV > VI > VII > IV > V > VI > VII. Interesting chord progression. It uses mostly major chords in a minor key. I can see ZUN is trying to use the raised 6th and 7th from the G# melodic minor scale to convert the iv and v chord into IV and V respectively. Really love the grace note on bar 3 and 4. Also it uses arpeggios as the piano background which is a common way to beautify a song. For this part, it uses the chord progression of VI > VII > V > i VI > VII > i before modulating the song up a semitone from G# minor to A minor. For this section (I shall call it section D), it alternates between i and VI every 4 bars with an added counter melody. Alternating between 2 chords (usually a third apart) is also a very common technique used by ZUN which I personally feel is quite boring because there isn't much progression going on. Also, I do notice that ZUN likes to compose countermelodies with fully quaver notes in his recent games, similarly to the one in this section. This part is just the main melody with a varied form of the counter melody from the previous section (It sounds empty on the lower frequency because I got lazy to add a new stave for block chords xd). last part is nice, 3 concurrent melodies/voicings going on. ZUN just mash the intro motif onto section D. It works because the chord progression for he intro and section D is the same (chord remains unchanged for 4 bars). I got nothing else to say so just stare at the screen I guess.

Touhou 17 Stage 5 Boss Theme: Joutounin of Ceramics
Feels frightening and aggressive. Chord progression of intro: i > VI (D minor) > Temporarily shifts to the (i) of B minor > VI > VII (Back to D minor). This section has a chromatic progression of D > D# > D > C# Not using roman numerals to notate something with little harmonic function. The progression sounds similar to Nue and Koishi's theme so I will be doing a comparison later. I love this additional intentional chromatic dissonant voicing here, really adds the intimidating feel to this part. The progression in this whole section is chromatic here and chromaticisms is a technique ZUN often use to make his music sound creepy (eq. Koishi, Satori, Nue, Flandre's theme, Th16 EX Stage Theme). To be honest, this whole section feels super repetitive but ZUN tries to make it less boring by changing the bass rhythm and adding additional voicings to this section. Also, is this first time ZUN use triplet bass rhythm?! As you can hear, it's more similar to Koishi theme than Nue theme. The melody is made out of triplets and because how the quaver note triplets are three notes being squeezed into an area that two notes normally take up, it gives off this rushy feel to me. The crotchet same triplet note, however, emits an aggressive vibe because I can imagine a pianist mashing the 3 same notes repeatedly on the piano loudly. Remember the upper melody thing I talked about earlier in this video? For this part, unlike the ending of Unlocated Hell, ZUN seems to have built an upper melody based off the main melody. I guess you can say that the upper melody now functions as the new melody while the previous main melody functions as a counter melody. By the way, the bassline suggests a chord progression of VI > VII > i. Chord Progression of this section is VI > VII > V > i iv > VI > VII > V. Bye

To be honest, I was considering not to make Part 4 because only Keiki and Saki theme are worth talking about but I guess I will whip up something for the sake of completing anyway.

Touhou 17 Stage 6 Theme & Stage 6 Boss Theme: Electric Heritage & Entrusting this World to Idols
There isn't really much difference between these two songs in terms of their compostition. The main difference is the type of instruments used. Electric Heritage uses a more synthy instrument, giving that disco-modern feel while Keiki's Theme uses more ensemble/orchestra instruments like horns, brass and zunpets to give that epic vibe to it. Which is a very good example of how the type of instruments you choose can affect the mood of the song greatly. Chord Progression used in this intro is i > VII > IV > VI > #vii dim. This chord progression appears in quite a few PC98 song like Complete Darkness and Vanishing Dream so it might sound PC98-ish to some of you. This intro feels very build-up-esque mainly because of the implied suspension harmony between the melody and chords while also using tension packing diminished chords. If we consider the implied harmony between the melody and chords, the derived harmonies can be seen notated in red. I shall try and emphasise the any tension between the chord tones using my piano. I played important chords of the intro and emphasised mostly on 2nds, 9ths and tritones. Don't mind the clucking sound, I didn't cut my fingernails when recording this video. You can hear a lot of tension between the melody and chords which is good for building up. Implied harmony is one reason why every Touhou song sounds unique and different even though they use similar chord progressions like the infamous VI > VII > i. Let me give you another example where I shall play a small part of Concealed Four Seasons and Invisible Full Moon which contains the VI > VII > i chord progression for comparison. I played an extra VII for Invisible Full Moon lol. Even though both songs use VI > VII > i for that section, Concealed Four Seasons sound "jazzier", doesn't it? The melody of Concealed Four Season implied a more complex and tastier harmony (7ths and 2nds) while the melody of Invisible Full Moon mainly uses the chord tones of the basic triads. It's something that hs the potential to be further analysed on but I don't think I will expand on it because its more complicated and I can see from the comment section that most of yall are struggling to understand the basic music terms I talk about (Maybe it's just me that sucks lmao). This part of Keiki's theme is also the intro of Electric Heritage. It has a nice catchy rhythm to it but its mostly just revolving around the tonic chord. For this section, it uses the chord progression of i > V > III > ii > VI > v sus4 > IV add 6 > V (I included the added chord tones because I feel the colour the add to the song is significant enough). I have seen people commenting that the chord progression is another rip off from Junko's theme (Chromatic descending bassline). Though it does have some aspect of chromatic descending bassline being used, it uses an entirely different chord progression compared to Junko's theme. Depending on how you invert the chords in your progression, you can obtain many different type of basslines. In this case, ZUN managed to obtain a chromatic descending bassline by inverting the chords that was initially in root position. Wait, actually no. For songs that has bassline with a clear sense of direction (Like this theme with a descending bassline direction), I feel that the way ZUN composes its chord progression is by first adding the bassline notes and then filling the rest of the notes which would make up the chords. It's easier for him from a composer's perspective. And this section ends with an implied Picardy Third from the melody. Now this part of Keiki's theme is also the section right after the intro of Electric Heritage. It has a similar catchy rhythm to it and uses some form of VI > VII > i.

The same section as before but this time being transposed a semitone down and the 'Theme of Eastern Story' motif being slammed on it. The Touhou motif really gives this 'home' and 'non hostile' feel to it. The main melody! It uses a simple chord progression of VI > VII > V > i. Melody is pretty simple here. It's simple in a sense that for this section, ZUN keeps repeating that first 3 notes motif throughout the melody which really helps etch that mini motif into your brain. A simple yet effective method. I like the added grace notes here (also in the previous section). It seems that ZUN has been embellishing (or spamming) quite a few of his later game music melody with grace notes. Here, ZUN mashes that Touhou motif into the main melody again, just like the previous section, giving off that 'home' feel while reinforcing that Keiki is just a chill and non-hostile opponent. Just like in Unlocated Hell, you can really see that ZUN just copy paste and mashes his motif here without any regard because of the really obvious minor 2nd dissonances. So good job ZUN.

Touhou 17 Extra Stage Theme: The Shining Law of the Strong Eating the Weak
Sound like a really generic stage theme I guess? Nothing really special. This intro sounds similar to 'Now, Until the Moment You Die' because the first 2bars use the exact same pattern as it but the chord progressions used for both songs are different anyway. The intro sounds very generic probably because the intro is just repeating commonly used Touhou patterns everywhere and mainly revolving around the tonic chord which doesn't make it very interesting. By the way, this part uses the 'Upper Harmony' technique discussed in the previous video where ZUN adds harmonies (mainly thirds) above the previous "melody". Melody is very syncopated here and chord progression used is i > VII > VI > VII > #vii. Quite a descent amount of grace notes added here. For this part, it seems that the 'Upper Melody' technique is used where new harmonies are added above the previous melody. Now the new harmonies behave like the melody now. Great for increasing the song's energy. Also, ZUN went crazy on the embellishment of the melody here. For this melody section, it uses the chord progression of VI > VII > V > i. Nothing really special about the melody but I believe that this song has one of the craziest melody embellishment which really spice things up. I guess the only redeeming factor of this song is its melody embellishment yeah. Also, isn't this bass pattern commonly used throughout Touhou music too? Okay, I have skipped to the last melody section. It uses the chord progression of VI > VII > i VI > VII > #vii dim > i. I have nothing else to say so just enjoy the song.

Touhou 17 Extra Stage Boss Theme: Prince Shoutoku's Pegasus ∼ Dark Pegasus
1st melody feels cheerful while the 2nd chromatic melody feels villainous. Just like a lot of his other songs, this intro alternates between the i and VI. Nothing really interesting here. Harmonies consisting of thirds are now added below the riff to 'thicken' the song. Nothing really interesting here too. The first melody, the chord progression used here is i > VII > VI > VII. The melody is a bit syncopated here and feels quite cheerful to me because of the 'skippy' bass pattern being used. Also, the melody occasionally leaps into the higher notes which also helps to bring said vibe. Also, doesn't the 2nd bar reminds you of a bit of Necrofantasia? lol Anyway just stare at the screen because there's nothing much to talk about here. For the first 4 bar of this section, the melody is chromatic and seems to follow the chord progression of i > i dim > VI (add 6) > #vi > vi in F# minor. As you can see, the first 4 bars is chromatic and the chord progression that I have listed makes no sense (non functional, many chords not found in F# minor). But the reason why I listed the "chord progression" down is because unlike Mayumi and Nue's theme where it is purely chromatic, Saki's theme feels as though ZUN added tons of chromaticisims in a minor scale. Although chromaticisims do help to achieve that dark and villainous vibe as the title suggests "Dark Pegasus", I feel that for this case, the main reason why it sounds dark is because of the emphasis of the note a tritone away (raised 4th) from the key (C natural note and F# minor key), especially on the 2nd bar. Like Junko and Okina's theme do use a chromatic descending bassline but you don't hear anyone saying they receive a creepy vibe from their songs right? This is because their melodies did not include the raised 4th note. I would compare this song to Magus Night where it has a similar chord progression for the 1st 4 chords and also the emphasis on the raised 4th. For the next 4 bars, it seems to have shifted to F minor, as heard from the F major tonic chord at the end of 8th bar and the chord progression is as follows: iv > VI > #vii dim > I. (Opps, I have talked so much that I have eaten into the intro) For this repeated intro part, the "Upper Harmony/Melody" technique is used here. I guess it's more of Upper Melody because it sounds more like a melody? Oh no, we are back into the chromatic melody section again. Why? Because at the end, there is a weird melody alteration. Lets hear it. Now the melody is being transposed one semitone up and although the rhythm and chord progression remains the same, it seems that a new melody is being created. I have now transposed the original melody to the same key as the new melody and removed any harmonies so you can hear the differences clearer. After this, I guess I will give random comments on Touhou 17 Stage 4 Theme to Extra Boss Theme. I feel that I might have rushed down on a lot of stuff as I was trying to fit everything before each section of the song ends. Forming of unusual/uncommon chord progressions (This is just a speculation). First, ZUN will add the bassline along with the melody first before filling the rest that makes up the chord. Are there any rules ZUN follow for filling up the chords? I don't think so, he usually just use triads. There are some signs of sus4 and triads with added 6th in this chord progression though. Perhaps he was experimenting and preferred the sound of it compared to triads. Same with the chromatic melody section of Saki's theme (Bassline with melody first). Same with the chromatic melody section of Saki's theme (And then fill up the chords). Same with Keiki's Theme Intro. I believe he just creates the melody and adds the chord progression below it and the implied harmony happens to contains a lot of suspensions. I don't think ZUN actually considered having these added harmonies when composing.